Handel Partenope
View record and artist detailsRecord and Artist Details
Composer or Director: George Frideric Handel
Genre:
Opera
Label: Deutsche Harmonia Mundi
Magazine Review Date: 1/1989
Media Format: CD or Download
Media Runtime: 192
Mastering:
ADD
Catalogue Number: CDS7 47913-8
Tracks:
| Composition | Artist Credit |
|---|---|
| Partenope |
George Frideric Handel, Composer
(La) Petite Bande George Frideric Handel, Composer Helga Müller-Molinari, Rosmira John York Skinner, Armindo Krisztina Laki, Partenope, Soprano Martyn Hill, Emilio, Tenor René Jacobs, Arsace, Mezzo soprano Sigiswald Kuijken, Conductor Stephen Varcoe, Ormonte, Bass |
Author: Nicholas Anderson
Neither the success of The Beggar's Opera nor the collapse of the Royal Academy in 1728 deflected Handel from the pursuance of his operatic career. In 1729 he rented the King's Theatre in the Haymarket and in partnership with Heidegger began a second 'new Academy' on a subscription basis. Handel presented two new operas for the 1729–30 season, one of them was Lotario the other Partenope, which was first performed on February 24th, 1730. Both operas were indifferently received though following seasons were, by and large, more successful. In his review of the LP set SS described this performance of Partenope as ''comfortably the best Handel opera recording I have heard''. That was nine years ago and it is a sobering thought that since then no Handel opera recording that I know of has quite equalled, let alone surpassed it. Alessandro, also directed by Sigiswald Kuijken ( CDS7 47910-8, 12/87), runs it a close second but it is a less consistently interesting opera than Partenope. Silvio Stampiglia's libretto has a rich vein of ironic humour running through it and, as in so many Italian operas of the period, the plot centres round a woman disguising herself as a man. But here, furthermore, the conventions and several of the characters typifying heroic opera are held in ridicule, allowing Handel to respond with enchantingly lively and light-hearted music in which one can often detect deliciously subtle gestures of parody. Several, though by no means all of the arias are shorter than usual and there are almost countless melodic delights to be found in them. Amongst the loveliest are, perhaps, ''Dimmi pietoso Ciel'' (Act 1), ''Ma quai note'' (Act 3), Partenope's ''Io ti levo'' (Act 1) and a captivating quartetto with an uncanny likeness to the ''Quia fecit'' from Bach's Magnificat, ''Non e incanto'' (Act 3).
The cast which Kuijken has assembled is a strong one and though there are weak moments the technical and interpretative level is high. Krisztina Laki, in the only soprano role in the opera, makes a charming Partenope, and there are some dazzling contributions from Helga Muller-Molinari as Rosmira who, in pursuit of Arsace, assumes male disguise almost to the end of the opera. The orchestral playing is crisp, lively and graceful in the manner in which it articulates the music. Good examples of what I mean are afforded by its accompaniment to Partenope's arias, ''Cara Mura'' (Act 2), and the beautiful ''Voglio amara'' (Act 2). One could go on finding felicities in this affectionate and stylish performance for a very long time, so let me conclude by saying that no lover either of Handel's music or of baroque opera should miss an early opportunity of becoming acquainted with it. The recorded sound is splendid and the presentation informative with the full libretto in Italian, English, German and French. A rewarding issue.'
The cast which Kuijken has assembled is a strong one and though there are weak moments the technical and interpretative level is high. Krisztina Laki, in the only soprano role in the opera, makes a charming Partenope, and there are some dazzling contributions from Helga Muller-Molinari as Rosmira who, in pursuit of Arsace, assumes male disguise almost to the end of the opera. The orchestral playing is crisp, lively and graceful in the manner in which it articulates the music. Good examples of what I mean are afforded by its accompaniment to Partenope's arias, ''Cara Mura'' (Act 2), and the beautiful ''Voglio amara'' (Act 2). One could go on finding felicities in this affectionate and stylish performance for a very long time, so let me conclude by saying that no lover either of Handel's music or of baroque opera should miss an early opportunity of becoming acquainted with it. The recorded sound is splendid and the presentation informative with the full libretto in Italian, English, German and French. A rewarding issue.'
Handel Partenope
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